The word is left to the clothes - the real stars - from start to finish.At the beginning there was romanticism. The one that, once again, inspires and gives breath to the collection designed by Giulia - the young Antonella’s daughter - whose smile, veiled by timidity, greets me in the backstage after the show with the ritual question “please tell me shortly which is your favorite dress? “- and I answer, once again, ” the all-black -transparent and subtly sensual“!The romanticism brought under the spot by a series of the light and soft clothing.
Lace typical of ‘robe de chambre‘, combined with intense colors such as blue and red oil that smells of burnt earth and turns into something materic and intense culminating in Marco Zappa’s figurative art, that comes to life in the folds of the fabric.The sweet feelings gently shift to the floral prints on shiny and seductive fabrics. The plunging necklines and the pronounced cuts on soft and impalpable fabrics, speak of a woman who uses her femininity in a discreet manner, without shouting.But if half of the show is trying to give almost human figure to the divine Beatrice described by Dante, it is on the notes of Chandelier by Sia that the show reaches its climax.Clothes in total noir, but with a nude effect that makes transparency an intriguing game of ‘wait and see’.
They fit like a second skin to the silhouette of the models, without scoring, without carving, promising something for every woman to emphasize the femininity and the beauty that belongs to all of the women, just as the Dolce Stil Novo poets thought.But it is love the common thread between all of the clothes. Love staged throughout the fashion show, but that is symbolically expressed, in the final output, with the wedding dress made of layers of romantic embroidered fabrics ‘ton sur ton’, which reminds of the past with that vintage flavor, and that smacks of new and unexpected.
